Date: Sun, 15 Jul 2007 10:30:09 -0500
From: "Daniel, John" <firstname.lastname@example.org>
Subject: [TPIN] The
I wasn't very clear in my initial post about this, sorry.
I have the book and I've been practicing out of it for a couple of
weeks. I've known about the book and one that came before it for
several years, but I don't think I ever invested more than a practice
session or two on it until now. I did a couple of recital tours
last year, including a stop at Eastman and I was able to watch Jim
Thompson teach a couple of lessons. It was clear to me that he's
done a lot of thinking for himself about the Stamp method and this book
represents a distilled approach. It is certainly more direct and
to the point. (I don't mean to be speaking for Mr. Thompson, this
is just my impression.)
And I love the Stamp method, so I'm not knocking it. But I've
been in the process of writing my own book on trumpet playing for
several years, and I know my approach is strongly influenced by years
of practicing Stamp. I know a few of my colleagues have enjoyed
using this method, so I thought I better look into it before I write a
book that leaves something essential out.
A few quick observations:
1. Buzzing/playing/buzzing/playing etc. has always beenbetter for
most of us than just buzzing for several minutes. This book is
set up to alternate in even portions, and it works great.
2. Playing with a CD is very useful for tuning and starting notes
in tempo. I have practiced the exercises away from the CD once or
twice and I think that is useful too.
3. I'm taking the instructions very seriously about playing all
the notes on one mouthpiece placement. I have thick lips, so this
has never been easy for me. As a kid, I didn't use much top lip
when I played the high notes. Then for many years I played
without much bottom lip in the mouthpiece. It's very difficult
for me to keep the bottom lip in the cup and get the low notes to
speak, especially during a warm up. So this book, with some very
simple exercises, is kicking my ***(*).
4. I've learned that I can play the low notes with a lot more
embouchure resistance. It just takes a lot more air and a lot more
vibration than I'm used to in the low register. But man, I do
like the sound and dynamic range. If I mimic this feeling in the
middle and upper register I can put a ton of core in the sound and play
extremely loudly, louder than I've ever even thought about playing
We all grew up with great materials, Clarke's, Arban's, Schlossberg,
etc. that came with very minimal playing instructions. It was up
to us and our teachers to figure out what the exercises were
doing. It's interesting how many books have come out recently
that go much further in saying, "Try it this way, it might work for
you!" The buzzing book suggests some very specific notions about
embouchure function. But my guess is the exercises are going to
help any player, even if they don't follow the embouchure suggestions
I'm hoping if and when my book comes out that it will appeal to players
looking for specifics but will also work for players who are only
looking for good exercises to practice.
Anyway, I'm very impressed with "THE BUZZING BOOK"